<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Takashi Miike - vo.rs</title><link>https://vo.rs/tags/takashi-miike/</link><description>Latest from the Takashi Miike desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Fri, 29 Dec 2023 09:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/takashi-miike/" rel="self" type="application/rss+xml"/><item><title>Audition: Miike's Hour of Romance Before the Wire</title><link>https://vo.rs/screen/audition-miikes-hour-of-romance-before-the-wire/</link><description>&lt;p&gt;The most quoted thing about &lt;em&gt;Audition&lt;/em&gt; is the sound, and if you have seen it you already heard it in your head reading that sentence — a bright, chirping, almost cheerful syllable repeated as a woman goes to work with a length of wire. Takashi Miike&amp;rsquo;s 1999 film has been filed for a quarter of a century under &amp;ldquo;extreme cinema&amp;rdquo;, shorthand for the final twenty minutes, and the filing does the film a quiet violence. Because the horror of &lt;em&gt;Audition&lt;/em&gt; is not the wire. The horror is the hour of tenderness Miike builds before it, so carefully and so sincerely that the audience falls for the same trap the protagonist does.&lt;/p&gt;</description><pubDate>Fri, 29 Dec 2023 09:00:00 +0000</pubDate></item></channel></rss>